Garalde: the word itself sounds antique and arcane to anyone who isn’t fresh out of design school, but the sort of typeface it describes is actually quite familiar to all of us. Despite its age—born fairly early in printing’s history—the style has fared well; Garaldes are still the typefaces of choice for books and other long reading. And so we continue to see text set in old favorites—Garamond, Sabon®, and their Venetian predecessor, Bembo®. Yet many new books don’t feel as handsome and readable as older books printed in the original, metal type. The problem is that digital type revivals are typically facsimiles of their metal predecessors, merely duplicating the letterforms rather than capturing the impression—both physical and emotional—that the typefaces once left on the page. MVB Verdigris is a Garalde text face for the digital age. Inspired by the work of 16th-century punchcutters Robert Granjon (roman) and Pierre Haultin (italic), Verdigris celebrates tradition but is not beholden to it. Created specifically to deliver good typographic color as text, Mark van Bronkhorst’s design meets the needs of today’s designer using today’s paper and press. And now, as a full-featured OpenType release, it’s optimized for the latest typesetting technologies too. With MVB Verdigris Pro Text, Van Bronkhorst has revisited the family, adding small caps to all weights and styles, extensive language support, and other typographic refinements. Among the features: • Support for most Latin-based languages, including those of Central and Eastern Europe. • Precision spacing and kerning by type editor Linnea Lundquist. The fonts practically set beautiful text by themselves. • Proportional and tabular figure sets, each with oldstyle and lining forms with currency symbols to match. • Ligatures to maintain even spacing while accommodating Verdigris’ elegant, sweeping glyphs. • Numerators and denominators for automatic fractions of any denomination. • Useful, straightforward dingbats including arrows, checkboxes, and square and round bullets in three sizes. • Alternative ‘zero’ and ‘one’ oldstyle figures for those who prefer more contemporary versions over the traditional forms. • An alternative uppercase Q with a more reserved tail. • An optional, roman “Caps” font providing mid-caps, useful for titling settings, and for those situations when caps seem too big and small caps seem too small. __________ Sabon is a trademark of Linotype Corp. Bembo is a trademark of the Monotype Corporation.

Crown Jewels is a massive Super Pro font like no other. This must be one of the most complex font ideas ever imagined. Based on an original font by George Williams, Crown Jewels takes that original idea to a whole new level. Containing thousands of glyphs, it has the size and complexity for any fancy job. This font is like hundreds of fonts in one. Many OpenType features and sub-styles to give you hundreds of different looks. Every single capital letter has been hand-sculpted into a unique complex shape like no other. Multi-language support for numerous countries including Greece and Russia. It also has advanced Open Type features like converting numbers to Roman Numerals automatically for your art projects. Numbers from 1 to 3,999,999,999 can be converted automatically to two different Roman Numeral styles. This font also comes with a nice large pdf manual explaining every function so please read it in its entirety so you can use this font successfully. There is a optional add-on font of Flourishes containing over 800 complex glyphs that can be used with this font or any font you already own. It will bring your fonts and art projects to life. It also has numerous OpenType features programmed so that each feature simply outputs 94 flourishes at a time to your keyboard. There is also a complete color-coded pdf directory of each and every one so you can find the shape you want fast. Every single one is available in recent versions of Photoshop and InDesign by simply turning on a OpenType feature and hitting a key on the keyboard. There is also a separately programmed ligature feature in case that is the only OpenType feature you have and just with that feature every single glyph can be placed into your documents easily. Crown Jewels is priced so you don't have to lay siege to the tower to afford it. It has a very low cost per glyph and is actually one of the best values here. This font took over nine years to make and it’s still just pennies a glyph. Usage: Photoshop styles, InDesign, Promotion Logos, Monograms & Signatures....That’s where it shines and it’s made for art, cards, fancy documents, really super fancy labels & even notes to Mom. If you have a fancy art project that needs doing this is the font to use.

“For those who regret what keyboards and touch screens have done to their penmanship, typographer Harald Geisler has an answer: Sigmund Freud.” — The Wall Street Journal Sigmund Freud was a neurologist who lived from 1856 to 1939. His research and studies led to the foundation of ‘Psychoanalysis’. When I first saw Freud’s century old letters, I was fascinated by the beauty of these historic manuscripts. It made me smile to imagine a person writing his or her shrink a letter set in Freud’s handwriting. I started to plan creating a font based on his manuscripts. I contacted the Sigmund Freud Museum Vienna and Freud Museum London. To start the creation I selected eight handwritten documents from the archive in Vienna – This selection of specimen was my orientation during the design process. The Samples were created between 1883 to 1938 and are of various character such as handwritten scientific papers, personal letters, notes and a telegram. A successful Kickstarter Campaign "The Sigmund Freud Typeface - A Letter to your Shrink" with over 1400 Backers enabled me to visit the archive in Vienna and study the original manuscripts of Sigmund Freud. After a year of preparation and design work, I finished four alphabets based on Freud’s handwriting. What are the different Versions PRO, Kurrent, #1, #2, #3 and #4 about? “This project gives people the convenience afforded by the computer while maintaining the romantic nostalgia, beauty, and character of letter writing with real handwriting.” — Daniel Vahab, The Huffington Post When you write with your hand, every letter looks a little different. When you write a text on your computer every letter looks exactly the same. In order to make type look like handwriting, I chose four different variations of each letter from Freud’s manuscripts, drew and stored them in the font. The font is then programmed to exchange letters while you are typing. This makes the rendered result on your screen or print look like unique handwriting. PRO While you are typing… the PRO Version actively combines all four alphabets and exchanges them automatically. Through this mechanism never the same two o’s will stand next to each other. With every touch a unique look is generated. This works in certain applications i.e. Word 2010(or newer), Pages, TextEdit, Editor(Pre-installed on Windows 7 or newer), InDesign, Illustrator… →Here you can see an animation of what this effect looks like in action. (Please Note: some applications like LibreOffice, OpenOffice do currently not support this feature. Date: December 2013) #1 #2 #3 and #4 The Sigmund Freud Typeface #1, #2, #3 and #4 each hold one individual lowercase alphabet based on Freud’s handwriting. Kurrent Most of Freud’s correspondence was written in German. Until the 1950′s a different handwriting was taught throughout German speaking countries (Switzerland, Austria, Germany). This style is called Kurrent. The name Kurrent and Cursive derive from the Latin word currere - to run, hurry - both styles were designed to write fast. As you can see in the samples above, Freud practiced both Kurrent and when writing english Cursive (Latin script or Joined-up). Kurrent has three significantly different letters (s,h,e). Use Kurrent to render the authentic look of an historic Sigmund Freud letter in German. Bundle On the Top of this page you can get all six fonts of the Sigmund Freud Typeface Family in a bundle. International Typeface All styles of the Sigmund Freud Typeface feature a wide range of accented letters so you can write to all your friends in Sweden (Bjørn) France (Chloé & Zoë), Ireland (Dáirine), Poland (Łucja), Germany (Jörg) and almost everywhere around the globe (Find a complete list in the tech specs). Usage recommendations I hope that this design will be valuable to you and most of all that you have fun with this typeface! 1. Point Size — To reproduce the size of Sigmund Freud’s handwriting adjust the type size between 18-24 point in your word processor. If you are using an imaging software like Photoshop set the resolution to 300dpi and adjust the point size between 18-24. 2. Line Spacing — Narrow the line hight until swashes of capital letters touch the baseline above. This also happens when you write a letter and gives the document a unique handwritten look. 3. Right Aligned — Freud had the habit to write towards the right edge of the page and start loosely on the left. Set your text alignment to ‘right’ to incorporate this dramatic expression also to your documents. What do other People say about the Sigmund Freud Typeface? “Wouldn’t you love to write a letter to your shrink using the Sigmund Freud typeface?” — Dorothy Tan, Design TAXI ''“JUST DON’T WRITE A LETTER TO YOUR MOTHER WITH IT… …until the reader looks a bit closer, and they see 70+ years of modern science weighing in on turn-of-the-century pop psychology."'' — Mark Willson, Fast Company “Doctor, what does it mean if you dream of creating a font of Freud’s handwriting?” — Ayun Halliday, Open Culture “…geekily romantic, at once artistic and scientific” — Edie Jarolim, Freud’s Butcher “…sympathisch” — Jürgen Siebert, Fontblog !WOW! Thank you for reading the complete font description! You are awesome! If you still have a question please contact me through MyFonts or my website haraldgeisler.com. Credits This project was made possible by the help of 1481 Backers on Kickstarter and the kind support of the Sigmund Freud Museum Vienna and the Freud Museum London. Thank you. All of Freud’s Manuscripts shown are © Sigmund Freud Museum Vienna. Poster Image: IN17 - Sigmund Freud, Germany 1932. © Freud Museum London. Flag Image: IN19 - Sigmund Freud 1930’s. © Freud Museum London.

Green Fairy is a chromatic font family highly ornamented for display purposes. Green Fairy’s characters have been specifically designed to accommodate its loops and ornaments following a modern typeface structure. Green Fairy has four chromatic weights: 1. Green Fairy Outline 2. Green Fairy Dots 3. Green Fairy Stencil 4. Green Fairy Full The outline weight has been created as the base or structure for the other weights. You can combine these weights as well as add colours to obtain multiple effects and type styles. Green Fairy has also three combined weights (combos) to simplify your work flow, for these occasions when you only want to use one single colour in your font: 5. Green Fairy Dots Combo 6. Green Fairy Stencil Combo 7. Green Fairy Full Combo GREEN FAIRY ORIGINS The origin of this typeface is the lettering I designed in October 2015 as part of my illustrated cocktail artwork called “Absinthe. La Fée Verte (The Green Fairy)”. Originally, this lettering only featured eight letters “AB·SINTHE” vector drawn in Illustrator. Right after creating the full-colour artwork, I designed a fountain-letterpress print version of it, in collaboration with Ladies of Letters, A.K.A. Carla Hackett and Amy Constable from Saint Gertrude Fine Printing. At the beginning of 2016 –and thanks to the project @36daysoftype– I found the motivation, and most importantly the deadline, to draw the rest of the twenty-six letters of the uppercase alphabet using Illustrator. I started 2017 having my first two calligraphy courses sold out, so I took this amazing opportunity to devote myself to Green Fairy for a few months. In February 2017, I purchased the font software Glyphs and I started to re-draw all twenty-six letters of the uppercase alphabet again. PRODUCTION PROCESS Green Fairy started being one weight, but quickly turned into a layered/chromatic font. Things were going more or less fine till I arrived to the Dots weight: 1) I started drawing squares following a grid; 2) Then, the squares turned into diamonds following the same grid; 3) Then, the grid wasn’t working so well on the round letters so I tried randomising the position of the diamonds but it didn’t work; 4) So I went back to the grid, and this time scaled down the size of the diamonds creating a visual half-tone effect. I spent over four weeks working on the Dots weight and I felt like I was in the middle of a very long tunnel and I couldn’t see the light at the end. I encountered many other problems along the way but by June 2017, I felt I was back on track again. I kept working, tweaking, re-drawing and re-adjusting, and then the diacritics came on board… And then more re-drawing, re-tweaking, re-adjusting and then numbers… And then spacing, symbols, and currencies… And then more spacing, kerning, contextual kerning for triplets… In September 2017 I told myself “that’s it, I’m going to finish it now!” But guess what? More re-tweaking, testing, hinting, testing, rendering, testing… For those of you not familiarized with typeface design, it is extremely time consuming and it requires a lot of hard work, focus and determination. This project could not have been possible without the help of these generous professionals: Jose Manuel Urós, typeface designer based in Barcelona and my teacher twice in the past; Jamie Clarke, freelance letterer and typeface designer who has released a couple of chromatic fonts recently; Troy Leinster, Australian full-time typeface designer living and working in New York City; Noe Blanco, full-time typeface designer and hinting specialist based in Catalonia; And Nicole Phillips, typographer currently relocating from Australia to New Zealand. To all of you: THANK YOU VERY MUCH!

Jugendstil Initials were designed by Heinrich Vogeler around 1905, based on the German blackletter tradition. A similar set of initials by Vogeler, but based on roman letters was released by Rudhardsche Geisserei of Offenbach at about this time. I believe the originals were woodcuts. The backgrounds to the letterforms may be seen as examples of Heimatkunst, an art movement within Germany that drew deliberate inspiration from the rural countryside. Like the Arts and Crafts Movement in England a little earlier, Heimatkunst may be seen, in part, as a romantic rejection of urban industrialization, while at the same time representing a back-to-roots nationalism. Like any river, it was fed by many streams. Jugendstil Initials is an experiment with which I am most pleased. It is far and away the most complex font HiH has produced and I was uncertain whether or not it could be done successfully. To oversimplify, a font is produced by creating outlines of each character, using points along the outline to define the contour. A simple sans-serif letter A with crossbar can be created using as few as 10 points. We decided to make a comparison of the number of points we used to define the uppercase A in various fonts. Cori, Gaiety Girl and Page No 508 all use 12 points. Patent Reclame uses 39 and Publicity Headline uses 43. All the rest of the A’s, except the decorative initials, fall somewhere in between. The initial letters run from 48 points for Schnorr Initials to 255 for Morris Initials Two, with 150 being about average. Then there is a jump to 418 points for Morris Initials One and, finally, to 1626 points for Jugendstil Initials. And this was only after we selectively simplified the designs so our font creation software (Fontographer) could render them. The average was 1678, not including X and Y. There was no X and Y in the original design and we have provided simple stand-ins to fill out the alphabet, without trying to imitate the style of the orginal design. We did a lot of looking to find a compatible lower case. We decided that Morris Gothic from the same period was the best match in color, design and historical context. We felt so strongly about the choice that we decided to produce our Morris Gothic font for the purpose of providing a lower case for Jugendstil Initials. The long s, as well as the ligatures ch and ck are provided. at 181, 123 (leftbrace) and 125 (rightbrace) respectively. This font was a lot of work, but I think it was worth it. I hope you agree.

Moonless is a charming handmade font duo, designed for texts, with a matching display font for titles in four different styles. The text font has true-drawn small caps available as an OpenType feature. In case you have no access to OpenType features, there is "Moonless SC" - the small caps version of the font. Moonless is perfect for children's books, poetry, invitations and design magazines. Moonless for texts comes in four different weights: light regular semi bold bold Moonless SC the small caps version of Moonless Moonless SC Regular is free! :) The display font comes in four styles: regular ("night") engraved ("shine") with dots ("stars") outline ("space") The font name was inspired by one simple word from Farid Attar's poem "The Conference Of The Birds".

As a font designer for films Henning Brehm delivers fonts with a whip-sharp eye for precision. His latest Vette Letters release, VLNL Agitka is a Cyrillic-inspired (and including) alphabet with both feet rooted in Soviet Union-era propaganda posters. Its design is constructivist (look Mom, no curves!) geometric and strong. Like Russian vodka. Aside from the Regular, Light, Bold and Black weights, Agitka comes in four Neon styles as well. For a dazzling design effect, layer those neons over a regular weight for a star struck embossed-letter effect. We would also like to point out the usage of VLNL Agitka in the Bourne Ultimatum movie, for which Brehm designed neon signage for a scene at a Russian supermarket. За здоровье – Za Zdarovje!

Attention Space Rangers -- the Race into Space is on again! Science Fiction long ago became Science Fact and scientists are looking Beyond Earth, Beyond the Moon to Mars, Infinity -- and BEYOND! Comicraft’s Ace Rocket Scientist and Secret Weapon, John “Buzz” Roshell has spent years in our Underground Laboratory developing Accelerated Font Technology for the Space Age in which we live. SPACE RACE has curved contours and a sleek fuselage that will ensure our Rangers will be the FIRST WOMEN (and MEN) on planets in this Solar System and those of other stars! Now available for less than the cost of powdered astronaut ice cream. Space Race has been expanded into Hyperspace Race, a forty-weight family with a variable font.

Introducing 58 Rodeo: A Classic Redefined 58 Rodeo is based on several different woodtypes used primarily as display faces in the late 1800s/early 1900s. The difference with this version of a classic woodtype is the balance and legibility. 58 Rodeo has been redrawn to emphasize line and character uniformity. The goal is to create a eurostyle, square look in a western font designed for modern applications with wild west sensibility. Additional characters provide whimsy and flair to round out any layout on the fly. Stars and other sorts are included in this reinterpreted design. Egyptienne-style fonts possess a universal appeal and are spectacular for adding interest and legibility in a variety of applications. The extended character set includes the Euro, placed on the currency key.

FACE FRONT, True Believers, This is The Issue You’ve Been Waiting For! In response to requests from our Hawkeyed customers, we’re making this Super Team of fonts -- which our fontmeister Assembled for the pages of THE AVENGERS -- available for the first time! A handsome collection of characters that would put a Norse God to shame, FACE FRONT is composed of Earth’s Mightiest regular, italic, bold and bold italic faces -- in UPPER and lower case. And now, these Living Legends can now be yours! Rick Jones not included! Remastered Face Front includes improved spacing and kerning, an upright Bold weight, Central European & Cyrillic characters,Crossbar I Technology™ to place it in exactly the right spots, plus hearts, stars & music notes for Manga lettering.

This historic revival font was created especially for use in the preservation and restoration of the 1916 silent film “The Good Bad Man,” starring Douglas Fairbanks. There is only one copy of the original film print in existence, and when the film was restored for a screening at the San Francisco Film Festival in 2014 the new font was created to best recreate the intent of the original lettering in the film. It is a smooth and pleasant vintage lettering style, originally designed for use on silver screens, now fully rendered in OpenType and ready for you to use in your designs or web pages today. There’s a neat story about this historic silent film font from The Atlantic magazine here: here.

Cora is a sans serif with an experimental bent, offering a large x-height, some contrast of stroke weight, and capitals inspired by classical lettering. The large x-height gives it a voice with a little more volume so that those in the back of the room have no trouble hearing. Because the letters seem slightly large, Cora remains clear at smaller point sizes. It is a typeface intended to perform well on screen without losing its attraction in print and the nature of its shapes allows for condensation or expansion without becoming severely distorted. The uppercase exhibits classical proportions found in ancient Roman inscriptions, which provides opportunities for setting titles in all caps. Cora Opentype Pro has a full range of numerals for every use, small caps, the most common open type features and supports many languages that use the latin extended alphabet. It is available in a range of three weights plus Italics. CoraBasic is a reduced version of Cora. It is still an OT-font but without any particular features except of a set of ligatures, class-kerning and language support including CE and Baltic.

A highly legible typeface in 4 series Le Monde Journal by definition is intended for newspaper use & at small sizes. It’s an economical and workshorse typeface adapted to any extrem condition of uses. Even though it has the same colour as Times, it appears more open. The reading flow has been made more fluent & less abrupt. The glyphs counters are bigger, as if they were “alluminating the interior.” The form, characterized by its serifs, remains embedded in our visual memory. Intermediate weights like Book can be considered as a grade supplement of the Regular. Italics accompany Le Monde Journal. With a more delicate design & a distinctive rhythm, they remain noticeable when used with the romans. Its companion, Le Monde Sans can extend your typographic palette. For beautiful page layout, use it in conjunction with Le Monde Livre for titling sizes. The verticals metrics and proportions of Le Monde Journal are calibrated to match perfectly others Typofonderie families. This family was designed in 1994 as bespoke typeface family for the French newspaper Le Monde. The family is not used any more by this newspaper from November 2005. Bukva:raz 2001 Type Directors Club .44 1998 European Design Awards 1998

PF Bague Slab Pro draws its inspiration from early 20th century slabs and was designed as a companion to Bague Sans, a versatile monoline typeface with a distinct and eye-catching personality. Following its predecessor’s design guidelines, it overcomes the monotonous and mechanical rigidity of early geometrics by introducing subtle variations in stroke width and semi-wedge serifs rather than square slabs. These striking serifs, along with a mixture of attractive letterforms, exude a strong, modern and energetic personality at display sizes. On the other hand, at small sizes these distinct characteristics become subtle and the simplistic geometric personality of the typeface comes in place to offer a highly readable text. Bague Slab Pro is a very clean and legible typeface with a warm and well-balanced texture which is ideal for editorial design, branding and corporate identity. This superfamily includes 18 weights from Hairline to Ultra Black with a consistent and well-refined structure. The italics are slightly narrower than the romans with cursive characteristics. Each style consists of 718 glyphs with 13 opentype features and an extended set of characters which supports simultaneously Latin, Cyrillic and Greek. PDF Specimen Bague Slab Pro on Behance

Presenting ⚔️The Blowar Typeface⚔️ by alitdesign. The Blowar font is inspired by action movie posters with the theme of war or knights in the Roman era. The bold and bold character of The Blowar font is perfect for making hero movie titles, game titles, logotypes, t-shirt designs and so on with heroic themes. Apart from the regular font, the Blowar also has an italic style which makes the design more dynamic and cool. The Blowar font has alternatives that you can combine between swashes and symbols that have the theme of heroes and war. Besides that this font is very easy to use both in design and non-design programs because everything changes and glyphs are supported by Unicode (PUA). The Blowar Typeface has a total of 706 glyphs including symbol, multilingual. Language Support : Latin, Basic, Western European, Central European, South European,Vietnamese. In order to use the beautiful swashes, you need a program that supports OpenType features such as Adobe Illustrator CS, Adobe Photoshop CC, Adobe Indesign and Corel Draw. but if your software doesn't have Glyphs panel, you can install additional swashes font files.

Artist and calligrapher Daniel Reeve, well known for the lettering and maps in The Lord of the Rings films, is creating hand-crafted fonts of some of his writing styles - Kereru is the inaugural release, allowing users to emulate some of his much-admired calligraphy. Nominally a half-uncial style, clever arrangements of the stylistic sets allow Kereru to be set as full uncial or standard roman, as well as offering numerous alternates, ligatures, swashes and flourishes, ornaments, unlimited fractions, scientific inferiors and numeric superscript, all accessible via OpenType features. Cyrillic and Greek alphabets are included, in addition to the letters required for all the languages of Western, Central and Eastern Europe, Scandinavia and the Baltic. Kereru is very legible and easy on the eye, without sacrificing calligraphic flair. A pdf description of the Stylistic Sets and their usage is included with the font package, which comprises regular, bold and italic variations. Kereru Italic supercedes and improves upon its previous incarnation, Shire Regular. The name Kereru comes from New Zealand's Maori language - it is our native wood pigeon, a bird of generous and rounded form, like the font itself.

Lionheart is the digitization and expansion of Saladin, a neo-gothic typeface designed by Friedrich Poppl, long after he established himself as one of the greatest German designers of all time with some of the most “ausgezeichnet” scripts and text faces to ever come out of Europe. This typeface, though lesser-known among Poppl’s other masterpieces, was one of the first in its genre to abandon blackletter influence and attempt letter variations based strictly on Roman alphabet shapes. Poppl’s idea spawned a whole generation of neo-gothics that can now be found on many a movie poster or book cover where the design must hint at secrets and dark sides. Lionheart succeeds with the idea of gradual curves leading to sharp concave or plano-concave terminals, to effectively build serious letter forms that speak of historical mystique and mystery. This font was was named after Richard I, King of England for a decade in the late 11th century. He reportedly exchanged many gifts of respect with Saladin, even though the two kings were on different sides of the Crusades. Lionheart comes in all popular font formats, with some alternates placed in accessible cells of the character set.

Everybody likes to have a picnic: some fresh fruits, cheese, ham, wine and so on. Like a “typographic picnic,” Typnic font system gathers many fonts with different flavors too, and you can enjoy them mixed or on their own. Typnic was drawn and calligraphed by hand and is made with eighteen typefaces, including three totally compatible yet different styles. It also has enhancement sets containing labels, dingbats, patterns and ornaments. The Headline style has six layered fonts that can be mixed in a wide variety of combinations to obtain powerful mastheads and headlines. It can be used to construct very nice advertising pieces. If you need to write informal texts, then use Typnic Script, which also comes in six variants and additionally has a complementary font with tails, double letters and ornamented ascenders. Finally, use Typnic Roman to add some secondary texts without losing the general appearance of your work. Typnic has a cool and natural feeling and could be used in all sorts of projects. Typnic is a very ambitious project and we will be working on it to further expand the whole system. Please check out our Typnic Headline Slab.

Yakout is an Arabic text face that was developed by Linotype & Machinery in 1956 for hot-metal typesetting. Similar to the typewriter fonts created during this period, it utilises a limited range of letterforms to represent a full Arabic characer set, thus forming a style of type design known as Simplified Arabic. The skilful reshaping of letterforms demanded by the constraints of the original restrictive technology has given Yakout a very dynamic effect, and has helped to produce a design whose overall pattern works particularly well in newspaper setting. Digital technology has enhanced the original design by permitting the introduction of wide characters and some additional letterforms, and by improving the joining of the strong, slightly curved baseline. Yakout is available in two OpenType weights: Yakout Light and Yakout Bold. Both of the fonts include Latin glyphs (from Times Europa Roman and Times Europa Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Yakout incorporate the Basic Latin character set and support all languages that use the Arabic script. They include tabular and proportional Arabic, Persian, and Urdu numerals and a set of tabular European (Latin) numerals.

Mimix is designed especially for comic fans and all typographers who like to play. It’s ideal to express spontaneity and the joy of life. Where Mimix is used, there’s life. The characters are lined in a row, a face looks out from the page. Big ears surround an oval head. A mouse moves without haste, but dynamic and modern through the lines. Mimix skillfully combines the elegance of a modern roman with the spontaneity of a casual handwriting. The mouse shows its versatile character in its broad range of use. Without exaggeration, it’s always delicate and elegant. The quiet form and good readability is a result of its moderate inclination. Well developed, Mimix includes ten weights from Ultrathin through Black. The free trial pack includes two weights with a reduced number of glyphs. If you like it you will be then be able to buy the fonts itself complete with ligatures, special characters for Eastern European languages, uppercase, lining and old style figures as well as fractions and different Opentype features. Declare war on desert lead – with Mimix, those with charm. Download a free trial version of Mimix with a reduced character set. Check it out!

Decora Arabic is a new creation of Naghi Naghashian. Decora Arabic's design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Decora Arabic's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Decora Arabic was developed for multiple languages and writing conventions. Decora Arabic supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

Ozana Pro is a bracketed serif font family adapted to the professional requirements of graphic designers, web designers and mobile app developers. Comprised of 24 styles including 12 styles designed especially for headlines and 12 styles for text and long paragraph design, Ozana Pro is a very versatile family of fonts that can be used in many projects such as editorial design, branding or corporate identity creation, design of posters or logos, the creation of websites or the development of mobile applications. This serif font family, with a resolutely modern aspect, also hides a unique typographic design since it has 2 distinct styles (Roman and Display) which have 2 different optical sizes in order to graphically differentiate the appearance of titles, subtitles and long paragraphs. With this design of glyphs differentiated by the optical size according to the styles, the titles have a very graphic aspect while the long texts have a more classic design in order to keep an optimal readability in all cases. Ozana Pro is also equipped with powerful OpenType features such as case sensitivity, true small caps, ligatures, tabular figures, old styles figures, numbers circled. Ozana Pro is also available as a variable font family.

"Humanista" is the name of a multilingual chancery script font by Bertram Kaiser. The idea in this long-term project was to blend the boundaries between analogue calligraphic handwriting and designing a font digitally, while using all technical possibilities of modern type design. All glyphs were originally written with a broadnib and then carefully vectorized, creating a human charme inside the font. In this design you will find influences from great calligraphy masters like Hermann Zapf or Werner Schneider. The pro version comes along with a big variety of alternate glyphs, initial and terminal forms, swash capitals and ligatures, which gives you the possibility of designing individual text layouts. Inside the font you will also find a set of italic roman capitals plus fitting numerals and interpunction, which can be treated like a font itself. You can activate them through the Open-Type menue (stylistic-set 4) or set manually via the glyphs window (ADOBE applications). When using the feature "swashletters" make sure to also activate the feature "contextual alternates" to get an appealing textdesign with alternating swashletters. This font can be used for display sizes as well as for smaller textsizes like on Invitationcards or in magazines.

A few years ago I've discovered the work of one of the most prolific typeface designers of the Bruce type Foundry in NYC during late nineteenth century. Browsing Julius Herriet's work I found a very unique kind of ligatures in his patented "Old Style Ornamented" type design. Some letters were designed with a little top tail that allowed them to connect to each other. After that, I found that he also designed a single italic weight of the same font 7 years later. Since the beginning of the Opentype days I’ve been deeply obsessed with exploring different ways to build ligatures, so that lead me up to this point where I felt the need to create “Plethora”, this new font inspired by Herriet’s work. Extrapolating weights, adding variable technology and playing with additional interconnected letters and alternates. Definitely, Plethora means a large or excessive amount of something, and this font tries to bring back this abundance of details two centuries later. Available in 9 weights, from roman to italic, and also as variable format, “Plethora” supports plenty of latin languages and is a perfect choice for today’s design tides.

It's Festive! But don't let the name fool you... It's a fun script font (plus a Roman) accompanied by an assortment of exciting ornamental dingbats. In fact, it's the ornamentals that make this font so much fun! At first glance, Festive appears to be suited only for the Christmas holiday season. But wait… you can use the ornamental dingbats for any occasion where festivities abound— New Years, Valentines, St. Patty's Day, Back to School, Graduation, Baby & Wedding Showers, Halloween, Thanksgiving, and much more— even Sports. The base font works well with bodies of copy, while the alternate fonts can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all 14 fonts in this package—especially the fun ornamental dingbats. Festive Regular is included with all the alternate fonts (Festive One thru Ten) which are sold as two font sets. The PRO version contains all the glyphs of the family plus OpenType programming to easily access alternates. The Festive family of fonts are PUA encoded, so you can access them easily. So, get in the mood and have FESTIVE fun!

Parvin is a new creation of Naghi Naghashian. Parvin design fulfills the following needs: A. Explicitly crafted for use in electronic media fulfills the demands of electronic communication. A modern interpretation of Naskh which was invented as calligraphic style by Ebn Moghleh, a Persian savant in ninth century. This script is the most widely used, and its popularity has increased through the centuries. Most recently, it has served as a basis for the typefaces that are in use today. B. Suitability for multiple applications. Gives the widest potential acceptability. C. Extreme legibility not only in small sizes, but also when the type is filtered or skewed, e.g., in Photoshop or Illustrator. Parvin's simplified forms may be artificial obliqued in InDesign or Illustrator, without any loss in quality for the effected text. D. An attractive typographic image. Parvin was developed for multiple languages and writing conventions. Parvin supports Arabic, Persian and Urdu. It also includes proportional and tabular numerals for the supported languages. E. The highest degree of calligraphic grace and the clarity of geometric typography. This typeface offers a fine balance between calligraphic tradition and the Roman aesthetic common in Latin typography.

In 1972, VGC released two typefaces by designer friends Dick Jensen and Harry Villhardt. Jensen’s was called Serpentine, and Villhardt’s was called Venture. Even though both faces had the same elements and a somewhat similar construct, one of them became very popular and chased the other away from the spotlight. Serpentine went on to become the James Bond font, the Pepsi and every other soda pop font, the everything font, all the way through the glories of digital lala-land where it was hacked, imitated and overused by hundreds of designers. But the only advantage it really had over Venture was being a 4-style family, including the bold italic that made it all the rage, as opposed to Venture’s lone upright style. One must wonder how differently things would have played if a Venture Italic was around back then. Chopper is Canada Type’s revival of Venture, that underdog of 1972. This time around it comes with a roman, an italic, and corresponding biform styles to make it a much more attractive and refreshing alternative to Serpentine. Chopper comes in all popular formats, boasts extended language support, and contains a ton of alternate characters sprinkled throughout the character map.

Nazanin, originally named Haghighi, is a modern Arabic text face first produced by Linotype in 1978. Its popular design was converted into OpenType format in 2005, taking full advantage of digital technology to allow accurate positioning of diacriticals and kerning refinements. The counters and inter-character proportions of Nazanin are characteristic of Persian display lettering and typography. This is particularly true of Nazanin bold, which gives a strong image when used for display purposes. Nazanin possesses fuller, deeper characters than is normally exhibited in Arabic typography: its angled counters contributing to fluid, well-balanced, yet vibrant, letterforms. Originally designed for Farsi typesetting, Nazanin has now become popular for Arabic typesetting as well. Nazanin is available in two OpenType weights: Nazanin Light and Nazanin Bold. Both of the fonts include Latin glyphs (from Palatino Roman and Palatino Bold, respectively) inside the font files, allowing a single font to set text in both most Western European and Arabic languages. Nazanin incorporate the Basic Latin character set and the Arabic character set, which supports Arabic, Persian, and Urdu. They include tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Enzian is the fruit of a yearlong German Chancellor Fellowship sponsored by the Alexander von Humboldt Foundation. Our hope was simple: to make something useful and beautiful out of something that most people consider to be neither. We were fascinated by the complex persona of Blackletter in Germany and drawn to its emotive ornament and its sensual, non-geometry. Two areas in particular, the long-standing rivalry and widely-believed inferiority that Blackletter had with Roman type and Blackletter’s relevance in contemporary culture, became the foundation of the project. The result is Enzian: an invigorated, original Blackletter of uncommon depth and hopefully, a bit of charm. It is warm and expressive, feminine and contemporary, while staying true to its hand-written, calligraphic roots. Enzian is a multi-language, workhorse typeface that can create hierarchy (with unconventional italic and small caps), and has numerals that fit the family. It is a display face that isn't afraid of handling longer text; one that is equally comfortable in headlines and in poetry. We are delighted to announce that Enzian has been awarded a Certificate of Excellence in Type Design by the Type Director’s Club.

I just returned from a short holiday in Japan. I stayed in hostels and small guesthouses and noticed a peculiar thing they all had in common: they love little notes, telling you where to go, what to do, how to use the microwave oven and when to check out. These notes were sometimes printed, but more often they were handwritten. I found that the Japanese way of writing roman characters is a little, well, unusual. The letters are correct, but they have that typical ‘Japanese look’ - most notably the a and A the b, d and g, the p and P and the t and T. I can’t really tell you what makes them look different, maybe it’s the proportions, but I do know that a Nippon Note is highly recognisable. So, here is Nippon Note, a highly recognisable, handmade font. You don’t really have to be in Japan to use it, but it will give your designs that extra cachet. And don’t forget Nippon Note Kawaii - the cute doodle font which is free if you download the Nippon Note family! Comes with extensive language support, but unfortunately not Japanese…

The design of Sabon® Next by Jean François Porchez, a revival of a revival, was a double challenge: to try to discern Jan Tschichold´s own schema for the original Sabon, and to interpret the complexity of a design originally made in two versions for different typecasting systems. The first was designed for use on Linotype and Monotype machines, and the second for Stempel hand composition. Because the Stempel version does not have the constraints necessary for types intended for machine composition, it seems closer to a pure interpretation of its Garamond ancestor. Naturally Porchez based Sabon Next on this second version and also referred to original Garamond models, carefully improving the proportions of the existing digital Sabon while matching its alignments. The new family is large and versatile - with Roman and italic in 6 weights from regular to black. Most weights also have small caps, Old style Figures, alternates (swashes, ligatures, etc); and there is one ornament font with many lovely fleurons. The standard versions include revised lining figures that are intentionally designed to be a little smaller than capitals. Featured in: Best Fonts for Resumes, Best Fonts for Websites, Best Fonts for PowerPoints

Graduate Script is a contemporary calligraphic script. With over 825 glyphs Graduate Script can be dressed up or down, to enliven its style. You can add curls to beginning and end of any lowercase letter, or even in between them. Alternates for both upper and lowercase, as well as ligatures for double letters are included too. OpenType features such as five numeral styles, fractions and both standard and discretionary ligatures, make Graduate Script a well equipped font. Graduate Ornaments has over 300 glyphs and expands the design possibilities of Graduate Script even further. It offers additional ornaments and curls to add to lowercase letters, frames, automated borders that can be accessed by the keyboard and a lot more fun glyphs to work with. On top of that there are catchwords in different styles. Not finding the catchword you’re looking for? Just create your own! A full set of capitals, including roman accented caps, currency, numerals and punctuation is part of Graduate Ornaments. Designed to fit the same frames that are being used for the different catchword-styles, so you can easily integrate custom text with the existing catchwords. A detailed user guide is available in the gallery section.

Crafted in the best tradition of the geometric sans-serif, Rondana is a typographic tribute to the the retro-futuristic aesthetics of the 1960s and 70s, as well as an exercise in purity of line. However, its spirit is decidedly non-bauhausian, since its strokes intentionally deviate from the dull, obvious, ruler-and-compass construction; its arcs and curves being much more complex, tending towards a slightly square shape, imbued with subtle modulations. This sums up to a more organic, flowing, extroverted personality than the one just expected from the use of plain, simple geometry. Another feature is the conscious use of non-standard shapes for many signs, that are quite legible but somewhat unexpected, such as the E, the g and the ampersand; making Rondana an excellent display face and also giving a particular flavor to the text composed in it, especially in its italic variants —which are, by the way, designer italics in their own right and not just an oblique version of the roman. Rondana comes in twelve variants comprising a wide spectrum of weights, allowing for an extremely diverse range of expression.

Karim is a traditional-style Arabic text face, designed in response to a demand for a traditional text face adapted to setting Quranic commentaries. Within the constraints of the standard character set and typesetting program, Karim’s design aims to recall the style and fluency of manuscript Naskh without, however, reproducing the idiosyncrasies of any particular calligrapher. The line weight chosen is heavier than usual for a traditional light face in order to benefit the reproduction of small size Tafsir text. A tall kaf, deep descenders and slightly inclined alifs and lams all help to suggest the cursiveness of manuscript. The type-style that emerges is characterized by restraint and clarity; qualities suited to Karim’s original purpose, and ones that recommend it for wider use. Karim ships includes Latin glyphs from Janson Text Roman, allowing the single font to set text in both most Western European and Arabic languages. Karim’s code pages incorporate Basic Latin and the Arabic character set, which supports Arabic, Persian, and Urdu. The font includes tabular and proportional Arabic, Persian, and Urdu numerals, as well as a set of tabular European (Latin) numerals.

Axia is a robust sans serif of concise letter forms. It comes in ten weights from Light to Black with extended language support, a host of OpenType features including Small Caps, multiple figure styles, and more. Each, the roman and italic weights harmonize perfectly in line width. Text set in Light or Black results in the same fit. Stencil display weights with a unique aesthetic and perfect for captivating type sizes add further distinctive options to the typographic palette. The stencil display weights consist of abstract floating parts that seduce the eye and form nicely proportioned type when united. Originally designed for the Rice University School of Architecture in 2011, this contemporary sans found some inspiration in the TwinCities™ typeface family created by Sibylle Hagmann for the University of Minnesota in 2003. Orchestrated from scratch, the inner arched strokes off the stem on the lowercases 'n' or 'd', for example, progressively open the letter forms and express conceptual clarity throughout the system. A feature doing double duty that contributes to great legibility in the heavier weights and attributes to the versatility of individual weights.

I regard Sabio as an evolutionary face. By this I mean that it merges elements of script and Roman design into one elegant whole. The design was 'evolved' somewhere between these two classic approaches. The resulting family of faces makes an excellent display family, but is also clear and legible at small sizes and can be used as a text face with a distinctive flair. Sabio is a wonderfully flexible face that can sit happily alongside artwork that owes its inspiration to any era from the Art Deco onwards. The regular form is gently and subtly oblique, and the glyphs have a slight hint of swash about them. Alternate and perpendicular forms are also offered. The regular, alternate and perpendicular forms are all in turn offered in regular, and bold weights as well as in a condensed form. All in all Sabio is a humanist face with which almost anything can be done offering flair and elegance for almost any project. Whether it's a distinctive way of setting paragraph text, or poster work that's eye catching yet flowing and clearly legible, Sabio offers the answer.

Jemgonza is a Sans-serif font started on January 26, 2022. This font with hyper-extended character sets allow for usage for billboard signs, logos, and even professional documents and essays. It contains localized forms for certain languages that write them differently. For example: Л and л shaped like upside-down V's, д shaped like a lowercase g, и shaped like a lowercase u, and more for Bulgarian; б shaped like the Greek lowercase letter delta for Macedonian and Serbian. There are two non-standard variation sequences for the light and dark shades for when they are used vertically. If it bothers you, you can add Variation Selector-14 after each one of those This font also contains 256 braille patterns for the blind people. Note that each pattern is not tied to any specific letter since multiple scripts have a braille system

Quase is a very free interpretation of the types found in the “Specimen of Printing Types” by William Caslon from 1785. We didn’t want to follow any of the models introduced in the Specimens, but rather gather a series of typographic aspects that we found useful and interesting from the several sizes and styles available and then give them consistency and new proportions so they could fit our very own purpose. We wanted to start with Caslon and then transform it into an editorial typeface, hence the increase of the x-height and the radical reduction of the ascenders and descenders. Despite the Display, Headline and Text fonts we also wanted to make a single weight Poster version with, inspired by the mechanical script introduced in the Double-Pica Script, to be used in magazines or as a complementary display typeface.